We devote our thought to the one-tusked Lord, Aum ekadantaya vidmahe, vakratundaya dhimahe, tanno dantih prachodayat. We meditate upon Him who has a curved trunk. May the tusked One guide us on the right path? This is precisely for what we worship Lord Ganesha. The single tusked, or the one tusk broken form of Ganesh suggests that for accomplishing his devotee's prayer he would not hesitate in sacrificing even one of his body parts. Aum ekadantaya namah is the mantra that ends the duality, leads to a one-pointed mind, and singleness of object. The Elephant headed Ganesh with his long curved trunk has the power to reach the far-off regions, all directions, all cherished objects, and all devotees. In Aum vakratundaya hum the syllable hum is suggestive of the prayer that with his curved trunk the remover of evils Lord Ganesh straightens the paths of curve-minded people and curbs the atrocities of the cruel ones.
This benign blend of Ekadanta and Vakratunda manifestations of the auspicious Lord enshrines these three feet high lustrous bronze casts. This statue, carved in the finest and the most characteristic details, blends two of the most auspicious manifestations of the iconography of Lord Ganesha Statue, namely, the Varada and the Sankatahara. The Varada Ganapati bestows upon the devotee all that is blissful in life as also after it and the Sankatahara Ganapati removes all obstacles from his path. The compassionate Ganesha is always a pleasant deity, as here in his Lalitasana posture, that is, a loving mode of being seated. Obviously, the Sankatahara Ganapati is not a destruction-loving god who eliminates or even penalizes the evil or the obstructing ones. He only arrests or holds them by his noose to let the good prevail and goad them to the right path. He, thus, blesses his devotees to accomplish their objects without being obstructed and at the same time leads the detriments to the right path. The Sankatahara Ganapati hence has a compassionate bearing and just four hands, in two of which he carries weapons but only a goad and a noose, that is, the instruments, the one of which holds an object in control and the other one leads it to the right path.
Deity's benign face where enshrines the celestial calm and composure, his lalitasana, his two lower hands, one raised in varada and the other carrying modaka, his lambodara or the large potbelly, and his nagabandha, the ritual band consisting of a serpent, are features of Ganapati in his Varada manifestation. The varada assures awe free blessed life; the modaka fills life with prosperity and fragrance of success; the large potbelly contains all riches and oceans of knowledge; and, the nagabandha is the symbol of good health, long life, and the spiritual control of the material world. The Ganapati Brass Statue has been cast wearing on his head both, a rich crown and a sturdy helmet, one depicting his majesty and splendor by which he rules the cosmos and radiates it and the other his rock-like formidability, which detriments dare not face.
This marvelous piece, requiring exceptional skill in its casting, represents Lord Ganesh in Lalitasana, a mode of sitting that allures by itself. The image proper has been installed on a raised pedestal consisting of conventionalized lotus petals and beads. The right leg of the deity suspends to its mid-height. His vehicle mouse has stationed itself on the upper ridge of the pedestal. It is around here that the circular fold of the dhoti of Lord Ganesh and the ends of his sash beautifully lay. Cast in the copper mixed alloy, the image naturally obtains the lustrous deep brown complexion against which the golden brilliance of garments and ornaments gets many more times multiplied. The raised ornaments have such an appearance as if these are superimposed or are really worn and not carved with the figure. The figure's eyes give a feeling of deep thoughtfulness and the face has a benign bearing. The well-shaped ears are further beautified by additional ornaments and so are the other parts of the auspicious god. Besides the nagabandha he is also wearing yajnopavita.
This description by Prof. P.C. Jain and Dr. Daljeet. Prof. Jain specializes in the aesthetics of ancient Indian literature. Dr. Daljeet is the chief curator of the Visual Arts Gallery at the National Museum of India, New Delhi. They have both collaborated on numerous books on Indian art and culture.
